From the debut of silent films in the 19th century, to the development of CGI in the 20th century, people have lost themselves in entrancing stories told through cinema. But what is it that makes a film truly memorable and worth celebrating? What is the point in reminiscing about the old days of cinema, when there are so many new and exciting projects releasing every year? There are some films that have the power to ingrain themselves in the minds and hearts of their spectators across decades. Ang Lee’s mesmerising adaptation of Jane Austen’s Sense and Sensibility (1995) and Stephen Frears’ captivating My Beautiful Laundrette (1985) are two such powerhouses of cinema. Celebrating their 30th and 40th respective anniversaries, this August, both the films were screened in Dublin to new and old Irish audiences.
Lee’s Sense and Sensibility has officially turned 30 years young, sparking conversations around the qualities that make it shine as one of many Austen adaptations. The seeds of the film were planted by the fashioning of the screenplay by Emma Thompson, who herself plays the calm and considerate Elinor Dashwood.
When Mr Dashwood, a wealthy husband and father, passes away, his family of spirited women are left to bravely face newfound poverty and displacement since his lands and wealth are inherited by his son from a previous marriage. With little left to rely on but each other, Elinor (Emma Thompson), Marianne (Kate Winslet), Margaret (Myriam François) and their mother (Gemma Jones) reluctantly relocate to a small cottage in Devonshire. This fallback decision further escalates family drama, with new romantic endeavours and heartbreaks on the horizon. Ang Lee magnificently depicts this Regency story, reflecting on the complexity of class and gender, whilst maintaining a feeling of warmth and giddiness throughout.
But what is it that makes Sense and Sensibility so special? The film is made attractive by its cast, which also includes the likes of Alan Rickman and Hugh Grant. For Emma Thompson, the production was particularly personal, as both writer and leading lady. Her wholehearted devotion to the screenplay is reflected in her interpretation of Elinor: composed, but nevertheless intensely impacted by Edward Ferrars’ (Hugh Grant) affection for her. Thompson’s passion for Sense and Sensibility is particularly palpable in her on-screen romance with Grant, notably when Ferrars reveals the failure of his former engagement with Lucy Steele, and confesses his unwavering love for Elinor. The moment is touching, fuelled by the actors’ off-screen friendship, which remained in bloom up until and after their (very different) sibling relationship in Richard Curtis’ 2003 Love Actually.
Ang Lee’s direction of Sense and Sensibility is unforgettable, despite it being the Taiwanese director’s first fully English language project. Lee confidently transformed the masterpiece of Austen’s original novel into a striking production, sentimental in its dialogue and moving in its cinematography. The film not only inspired audiences to remain true to themselves and their loved ones but also inspired Lee to persevere through the trials and tribulations of the daunting film world of the West, encouraging him down his path of success to future iconic projects like the 2005 Brokeback Mountain (Telegraph). When we celebrate film anniversaries, we not only celebrate the story, but also the artists behind it and the platform the film gave them to tell stories of their own.
Sense and Sensibility is appreciated by film critics for the colour and life it brought to the classic novel of Jane Austen. It is notorious in comparison to other adaptations, like the 1981 television series, for the sheer beauty of the costumes and styling by Jenny Beaven and John Bright. The film set a standard for historical productions and became a staple for future creators to gain inspiration from, including other Austen adaptations like Joe Wright’s Pride and Prejudice (2005) and period series like Bridgerton (2020-) and The Buccaneers (2023-). Celebrating Sense and Sensibility over the past three decades has been inane to the preservation of the “period piece”. It is a film that continues to inspire the future of literary adaptations.
The other classic of British cinema which celebrated a monumental anniversary this August, was My Beautiful Laundrette, a film still adored and respected today for its representation of government corruption, young queer romance and anti-immigrant violence The film also paved the way for queer and POC stories and filmmakers.
My Beautiful Laundrette is both a romance and a coming-of-age tale. Set in an unruly area of South London, it follows a second-generation Pakistani, Omar (Gordon Warnecke) as he begins working for his greedy businessman uncle, Nasser (Saeed Jaffrey). After a short stint in a garage, he is given a rundown laundrette to revive and revamp. Facing pressure from his bedridden, vodka-soaked father to pursue a proper university education, and having his drug trafficker cousin Salim (Derrick Branche) on his back, Omar turns to his childhood friend Johnny (Daniel Day-Lewis). Johnny is a homeless skinhead who once used to belong to a racially abusive punk gang. Together, Omar and Johnny discover queerness, love and success but their relationship is not without hardship. While audiences were taken aback by the brutalities they suffer, they were also inspired by this perseverance and commitment to each other.
My Beautiful Laundrette is a one-of-its-kind collaboration between young actors deeply passionate about the story they have come together to tell. Made on a relatively small budget, the humble beginnings of this film are reflective of Omar’s life and the lives of all such immigrants. My Beautiful Laundrette is a film that must be especially remembered today to combat the unsolicited uprisal of racism and violence against queer people and people of colour. Amidst the recent disgraces committed against the Indian community in Dublin, it is crucial that we open our eyes and ears to the violence around us, and stand up against it, together. It is sad that the cruelty depicted in this film is one of the things that still makes it relevant.
There is immense courage in Hanif Kureishi’s writing and Stephen Frears’ portrayal of the budding romance between Omar and Johnny, a gay love story between a white and a brown boy from less affluent classes of society, brought up in a time and space wherein bigotry and prejudice were inescapable. Their unity transcends the abuse they both face individually and together their combined efforts result in the opening of a new and shiny business, and a flourishing passion for one another. My Beautiful Laundrette shows how love can help surpass incessant hate – a message that mustn’t be forgotten, especially in our current times of darkness and hopelessness.
My Beautiful Laundrette represents the importance of promoting stories often brushed under the carpet; the movie was initially released solely on Channel 4, until it rightfully blew up not only in the UK but around the world. The reintroduction of My Beautiful Laundrette into cinemas and mainstream media shows how films can rebel against the standards society sets for us. The film dives into the dull reality that was Thatcher’s England, displaying how movies can perform as a tool to combat oppressive politics.
As we head into the Autumn months, don’t forget to catch other iconic movies being re-released at the IFI, Light House and other selected cinemas. Check out the anniversary screenings of classics like the 1965 The Sound of Music (which is celebrating 60 years) this September, and behold the magic of old films!
